Andy Summers - Retrospective

Styles: Guitar Jazz
Year: 1998
File: MP3@320K/s
Time: 51:34
Size: 119,0 MB
Art: Front

(6:37)  1. A Piece Of Time
(6:30)  2. World Gone Strange
(5:14)  3. Charming Snakes
(4:54)  4. Mickey Goes To Africa
(5:12)  5. Passion Of The Shadow
(2:46)  6. Innocence Falls Prey
(5:19)  7. Oudu Kanjaira
(4:48)  8. The Blues Prior To Richard
(4:57)  9. Blues For Snake
(5:11) 10. Somewhere In The West

While Andy Summers is best known as the guitarist in the Police, he has since forged a successful and acclaimed solo career with new age-influenced contemporary instrumental music that, like his work with Sting and company, draws on his love for jazz and his fascination with creating instrumental textures. Born Andrew James Somers in Poulton-Fylde, Lancashire, England, on December 31, 1942, the young Somers (who later changed his surname to the more easily spelled Summers) moved to Bournemouth as a child and, upon taking up the guitar at 14, immersed himself in the local jazz scene. By 16, he was playing in local clubs and coffee houses, where he was noticed by Zoot Money. Somers was invited to join Money's Big Roll Band on the live album The All Happening Zoot Money's Big Roll Band at Klook's Kleek. Money eventually changed the band into a psychedelic outfit called Dantalian's Chariot, and when that project dissolved in early 1968, Somers briefly signed on with the Soft Machine before rejoining Money in a revamped Animals lineup for the LP Love Is. When that imploded in 1969, Somers studied classical guitar and composition at UCLA for four years, in the meantime giving guitar lessons, gigging with a local Latin rock band, and acting with various theater troupes. Upon his return to England in 1973, Summers became something of a journeyman, touring in the backing bands of Neil Sedaka, Kevin Coyne, Kevin Ayers, and David Essex. Summers met Sting and Stewart Copeland in 1977 while playing with a band called Strontium 90. The two asked Summers to join their full-time project, the Police; together, the trio gradually developed a style centered around jazz- and reggae-influenced pop/rock, and Sting's strong basslines allowed Summers to supply subtle sonic textures and colors on his guitar, and to experiment with various effects. 

Summers first stepped out on his own in 1982, teaming with King Crimson guitarist Robert Fripp on the jazz- and Eastern-tinged I Advance Masked. It was followed in 1984 with Bewitched, another Summers/Fripp collaboration, around the same time the Police officially disbanded. Eager to establish himself in musical realms outside of rock & roll, Summers did a bit of movie soundtrack work (Down and Out in Beverly Hills, 2010, etc.) before returning to recording, this time on his own. His first solo effort, 1987's harmonically intricate yet pop-oriented XYZ, met with poor critical response. Its follow-up, 1988's Mysterious Barricades, was more successful, emphasizing Summers' textural sensibilities on its jazzy, new age-influenced compositions. A string of albums in this style followed through the '90s, notably The Golden Wire (1989), Charming Snakes (1991), World Gone Strange (1991), Invisible Thread (1993), and The Last Dance of Mr. X (1997). For 1998's Strings of Desire, he teamed with South American guitar virtuoso Victor Biglione; 1999's Green Chimneys: Music of Thelonious Monk found Summers working with a larger ensemble than usual for him, as well as his first collaboration with Sting since the Police (on a version of "'Round Midnight"). Following the success of his Monk-themed album, the guitarist put together an album of interpretations of compositions by Charles Mingus called Peggy's Blue Skylight, released in late 2000. Earth + Sky appeared four years later. Summers continued to record, releasing First You Build a Cloud in 2007. He also participated in the Police reunion tour that same year. Following the reunion, Summers formed the band Circa Zero with Rob Giles of the Rescues; they released Circus Hero in 2014 before disbanding. After Circa Zero, Summers returned to his solo career, releasing Metal Dog in 2015 and Triboluminescence in 2017. ~ Steve Huey https://www.allmusic.com/artist/andy-summers-mn0000031173/biography

Retrospective

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Michael Civisca - Love Is Like a Breeze

Styles: Vocal 
Year: 2001
File: MP3@320K/s
Time: 51:56
Size: 119,8 MB
Art: Front

(4:23)  1. Love Is Like a Breeze
(4:36)  2. I Wish You Love
(3:24)  3. Please Don't Talk About Me When I'm Gone
(4:26)  4. Stormy Weather
(4:01)  5. Desafinado
(3:56)  6. You Go to My Head
(3:16)  7. Just in Time
(4:11)  8. I May Love You More
(3:20)  9. I Feel Sorry for You
(4:24) 10. Just One of Those Things
(4:40) 11. The Very Thought of You
(3:23) 12. Wild Is Love
(3:50) 13. If I Ruled the World

Western New York denizen and vocalist, Michael Civisca, went to London, England for his fourth album. To say that this one is a departure from his previous release is an understatement. His last featured him in live performance with just a trio. This time out, he's accompanied by an orchestra of 80 musicians (!), replete with a large bevy of strings This album might be called the Musicians Relief Act of 2002. But there is lots of good news. The strings are not present on all tracks and when the group is unencumbered by violins, violas and celli, it and the singer swing up a storm. The best news is that Civisca is a fine singer with a great sense of timing and pace along with an intuitive, savior-faire feel for the music, making him a welcome addition to the male jazz/pop singers where fresh blood is desperately needed. From a mold similar to those that shaped the styles of Frank Sinatra and Bobby Darin, Civisca manages to have some fun with the lyrics much like Sinatra used to do. On "Please Don't Talk about Me When I'm Gone", he tells his detractor to "shut your mouth" if he/she can't say anything nice. The British musicians present are no slouches. There's a Don Fagerquist like lyrical trumpet noodling underneath on "Love Is Like a Breeze", a pleasant refrain composed by Civisca, as well as a good trombone solo on "I Wish You Love". It's on romantic ballads such as this one and "If I Ruled the World", where the strings come in and they do so tastefully. A nod to Charles Calello who conducted the large assembly, but most of all for his fresh, contemporary arrangements of familiar material. Michael Civisca has a considerable set of chops making Love Is...Like a Breeze a welcome addition to the roster of highly listenable male vocalist albums. Recommended. ~ Dave Nathan https://www.allaboutjazz.com/love-islike-a-breeze-michael-civisca-neptune-music-review-by-dave-nathan.php

Personnel: Michael Civisca - Vocal; Charles Calello - Arranger/Conductor; 80 piece orchestra

Love Is Like a Breeze

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Ari Hoenig - Conner's Days

Styles: Jazz, Post Bop
Year: 2019
File: MP3@320K/s
Time: 54:25
Size: 126,7 MB
Art: Front

(1:57)  1. Conner's Days
(5:53)  2. All the Things You Are
(6:04)  3. Anymore
(5:02)  4. Prelude to a Kiss
(5:33)  5. For Tracy
(5:10)  6. Figuration
(4:04)  7. Bewitched, Bothered and Bewildered
(5:07)  8. All of You
(6:28)  9. Guernsey St. Gooseneck
(4:22) 10. In the Wee Small Hours of the Morning
(2:25) 11. Up
(2:14) 12. Conner's Days Reprise

"As a kid, I used to take trips to the west coast with my parents, visiting family friends and camping at national parks etc… This trio met in 2017, began playing gigs together and soon we had our first “West Coast Tour” at the end of 2017. We repeated the experience in 2018 with fewer mistakes and a deeper musical repertoire. Conner was there from the first trio tour and for the following tour as well. As a kind soul who appreciated the music, he drove us around in Southern California from gig to gig and offered us nice accommodations. He will always be directly associated in my mind with our west coast touring tradition." ~ Ari Hoenig https://www.freshsoundrecords.com/ari-hoenig-albums/46955-conner-s-days-digifile.html

Personnel: Ari Hoenig (drums), Nitai Hershkovits (piano), Or Bareket (bass).

Conner's Days

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André Charlier, Benoit Sourisse - Hard Bop Jazz

Styles: Jazz Post Bop
Year: 2017
File: MP3@320K/s
Time: 65:11
Size: 150,6 MB
Art: Front

(3:51)  1. City Limits
(2:27)  2. Grand Prix
(3:11)  3. Time Square
(3:33)  4. Too Good to Be True
(3:33)  5. Nights of Jazz
(3:14)  6. Maio's Beach
(3:23)  7. The Things I Love
(2:59)  8. Little Giant
(3:28)  9. The Yacht Club
(2:41) 10. Congo Square
(3:10) 11. Springtime for Lovers
(2:14) 12. Shop 'Till You Drop
(3:29) 13. Free Wheeling
(3:23) 14. Cocktail Jazz
(3:07) 15. Set 'Em up Jim
(4:08) 16. The Street of Jazz
(3:19) 17. Manogs and Bananas
(3:17) 18. The Blue Note
(3:00) 19. At the Three Deuces
(3:34) 20. Cafe Chic

André Charlier born in VERVIERS (Belgium) in 1962. He started the drums in 1978. He studied at the conservatory of Liège in Jazz class and took classes with Vinnie Johnson and Bruno Castellucci. He studied at the Musician Institute in Los Angeles in 1985-1986. In 1988-1989, he began a series of tours with the singer Maurane. Winner of the Defense Competition in 1989, he was awarded the prize for best soloist at the international francophone jazz competition in 1991. With his alter-ego Benoît Sourisse, they create the Charlier-Sourisse tandem. (6 albums and close collaborations with Jerry Bergonzi, Kenny Garrett, Alex Kurt Rosenwinkel, Alex Sipiagin, Nick Smart ... Didier Lockwood's stage companion since 1993, with whom he recorded several albums, including the last "Apesantar" in 2016. Record many albums for various artists, movies music etc ...He also performs with numerous bands and artists such as Captain Mercier, Jean-Jacques Milteau, Michel Petrucianni, John Scofield, Scott Henderson, Toots Thielemans, Philip Catherine, Jean-Marie Ecay, Stephane Guillaume, Mighty Mo Rodgers, Dave Liebman, Laurence Allison ... Passionate about pedagogy he is co-founder and co-director of the CMDL, professor of rhythm and drums and involved in many courses and conservatories. With Benoît Sourisse, he creates a new jazz method called "Les Cahiers Charlier / Sourisse" (supported notably by François-René Duchâble, Jerry Bergonzi ...) by Leduc. The tandem "Charlier Sourisse" has just released its sixth album recently, a double album in big training called "  multiquarium Big band." Translate by Google http://www.charliersourisse.com/biographies

Born in Grenoble in 1964, Benoît Sourisse, pianist / organist, joined Paris in 1986. With his alter / ego André Charlier they create the tandem Charlier / Sourisse (7 albums and close collaborations with Jerry Bergonzi, Kenny Garrett, Kurt Rosenwinkel, Alex Sipiagin ...) Fellow and music director of the violinist Didier Lockwood between 1994 and 2004, he also shares the stage or the studio with many prestigious musicians such as Toots Thielemans, John Scofield, Philip Catherine, John McLaughlin, Mike Stern, Steve Gadd, Quincy Jones , Phil Collins, Gil Goldstein, Michel Petrucciani, Perico Sambeat ... Passionate about Blues and Rhythm'nBlues, he is the musical director of two albums by Jean-Jacques Milteau, as well as that of the American singer Demi Evans. He is also the co-founder of "Captain 'Mercier", an emblematic group of French Rythm'n Blues, who has given over 1300 concerts in 23 years, recorded 4 CDs, a DVD and won the Audience Award at the 2003 Victoires du Jazz. In 2009 Benoît, André and Chantal Charlier founded the jazz label "Gemini Records" which won two awards in 2010 for the last album of Stéphane Guillaume (Windmills Chronicles) After teaching improvisation for nearly 15 years at the National Conservatory of Music in Lyon, he is today co-head of the "CMDL" co-founded in 1999, of which he is a professor of piano and music. 'hear. Very attached to the transmission, he gives many Masterclasses in France and abroad (Hanoi, Nouméa, Liège, Lausanne, Lisbon, Sao Paulo ..). Translate by Google http://www.charliersourisse.com/biographies

Hard Bop Jazz

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Kim Fairchild - All of Me

Styles: Vocal
Year: 2004
File: MP3@320K/s
Time: 51:04
Size: 117,9 MB
Art: Front

(5:12)  1. Cry Me a River
(3:03)  2. Me Myself and I
(4:26)  3. The Man I Love
(3:05)  4. Strange Fruit
(2:59)  5. No Regrets
(7:03)  6. Lady Sings the Blues
(4:46)  7. God Bless the Child
(5:04)  8. As Time Goes By
(3:02)  9. Ain't Misbehavin
(4:53) 10. Good Morning Heartace
(4:12) 11. Stormy Weather
(3:15) 12. All of Me

Kim Fairchild (born November 26, 1966 in New York ), is a Norwegian singer , actor and entertainer. The family moved to Bergen in 1968. Fairchild has participated in a number of Norwegian TV productions, such as Lollipop , Beat for beat , Good Morning, Norway! and TV2's Anniversary Show, as well as finishing second in the 1993 Melody Grand Prix with the song "Besides the Wind" with Stein Hauge . Together with her band "Kim Fairchild Band", now "Ruffmix", she has toured all over Norway and with her rough soul / jazz / rock has been compared to Aretha Franklinand Tina Turner . [ by whom? ] She has also participated in the Parodi Grand Prix three times, in 2005, 2006 and 2008. Fairchild is known for her deep singing voice and has for many years held many concerts both with her own band and various jazz ensembles . However, as a record artist, she first debuted in 2003, when she released the critically acclaimed record All of Me , which was a collection of 12 old Billie Holiday songs. In 2015, she released the album Spring Soon , with a collection of Billie Holiday songs in addition to her own. Translate By Google https://no.wikipedia.org/wiki/Kim_Fairchild

All of Me

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Bill Snyder - Music For Holding Hands

Styles: Piano Jazz
Year: 1956
File: MP3@320K/s
Time: 35:42
Size: 83,1 MB
Art: Front

(3:11)  1. The Eleventh Hour
(3:07)  2. My Own True Love
(2:52)  3. The Girl Next Door
(2:53)  4. Younger Than Springtime
(2:47)  5. The Moon Of Manakoora
(2:57)  6. I'll Follow My Secret Heart
(2:53)  7. The High And The Mighty
(2:44)  8. When I Grow Too Old To Dream
(3:08)  9. As Time Goes By
(2:57) 10. My Dearest
(2:59) 11. Falling In Love Again
(3:10) 12. I'll See You Again

The titles, as well as the melodies, are redolent with glamour; the songs are those to which lovers have always thrilled; there are tender heart beats in every bar. The spell of this music is accentuated by the subtle piano playing of Bill Snyder. Bill Snyder was born in Chicago, climbed on a piano stool at the age of three  and has been there ever since. He was six when he made his first recital appearance in Chicago’s Kimball Hall. A scholarship at De Paul University was followed by a degree of Bachelor of Music at the Chicago Conservatory of Music, after which he got his Master’s at the American Conservatory of Music. It was in Chicago that he met Moritz Rosenthal, then the last living pupil of Franz Liszt. Rosenthal heard him and “adopted” Bill as a protege. Snyder’s distinguishing technique thus has a long heritage. In 1940 he was on the staff of the Columbia Broadcasting System, served with the Air Force for several years and, after his discharge, formed a dance band. In 1952 he joined Brunswick; his records have been popular in Europe as well as in his own country. Besides his own arrangements, Bill Snyder has a long list of original compositions to his credit, ranging from novelty piano solos to serious concertos. https://coverheaven.co.uk/bill-snyder-music-holding-hands/

Music For Holding Hands

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Leigh Harris - House Of Secrets

Styles: Vocal
Year: 2004
File: MP3@320K/s
Time: 49:01
Size: 113,5 MB
Art: Front

(5:02)  1. Like A Ghost
(4:45)  2. Incommunicado
(4:48)  3. Paint This Town
(4:43)  4. Devil Jumped A Rabbit
(4:53)  5. Backstreet Girl
(3:47)  6. Telephone Sleeping In My Bed
(5:42)  7. Evening In Paradise
(2:50)  8. Caroline No
(4:12)  9. Crazy Mirrors
(3:04) 10. Oklahoma Usa
(5:09) 11. Midnight Star

On House of Secrets, New Orleans native Leigh Harris brilliantly explores her hometown's love of melodic song and dramatic presentation, turning what might otherwise be a folk-oriented set of emotion-laden originals and cleverly chosen covers into a lights-down-low, saloon singer's delight. A prime example is her take on "Backstreet Girl" from the Rolling Stones' songbook, opening with only vocal and piano as the arrangement adds layers selectively, first form a pair of accordions, then a vocal chorus, finally building to a peak of full-bodied intensity briefly, before letting it all wash away. The effect is haunting, reminiscent of a French cabaret singer. Blessed with a powerful voice capable of evoking strong emotions even at its quietest, Harris caresses each literate, languid selection with an impressive range of supple vocal chops, from intimate whispers to plaintive bright shouts, while co-producer Mark Bingham, a key institution on the equally thoughtful Yockamo All-Stars project, concentrates on selective effects that emphasize the variety of distinctive voices available in contemporary New Orleans, from the rocketing eruptions of the Wild Magnolias June Yamagichi to the balladic embellishments of Gen-X trumpter Jeremy Davenport.  The repetoire includes a trio of declarations of longing written by Harris ("Telephone Sleeping in my Bed", "Crazy Mirrors", "Midnight Star"), a pair of compositions exploring absence("Like a Ghost", "Incommunicado") by longtime collaborator John Magnie,and two selections from other writers ("paint This Town", "Evening in Paradise")that color the overriding sense of longing with unmistakable melancholy.Adding unconventional cover choices (including The Beach Boys "Caroline No" and the Kinks' "Oklahoma USA")provides a wistful, ironic counterbalance of humor, while a Hammond B3-saturated composition by Doc Pomus, "Devil Jumped a Rabbit" early in the program and a final, undocumented track,"Working on a Building",complete with wailing gospel choir, help to connect the whole to the Southern tradition of blues and spirituals. ...Harris has re-invented herself and the American singer-songwriter tradition by incorporating a completely natural, European sensibility. Casting herself in the surprising, and wholly satisfying, role of a Delta version of Edith Piaf, Harris offers us one of the year's most inventive tributes to the power of song and a new appreciation for the richness of New Orleans' musical legacy. https://store.cdbaby.com/cd/leighharris

House Of Secrets

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Al Haig - Al Haig Today!

Styles: Piano Jazz
Year: 1965
File: MP3@224K/s
Time: 34:39
Size: 55,6 MB
Art: Front

(4:15)  1. Bags' Groove
(3:01)  2. The Good Life
(2:47)  3. You Don't Know What Love Is
(3:50)  4. Satin Doll
(3:07)  5. Bluesette
(3:36)  6. Thrio
(2:36)  7. Brother, Where Are You
(4:16)  8. Polka Dots and Moonbeams
(3:43)  9. Willow Weep for Me
(3:23) 10. Saudade

This difficult to find recording is worth the search; it contains some of the finest recorded work of Al Haig's enigmatic career. Haig was an important figure in the early development of bebop piano and can be heard as a sideman on many seminal recordings from the 1940s, including Salt Peanuts and Hot House. His refined classical technique was relatively unique at the time, and he was admired as a superb accompanist. Between the mid-'50s and the early 1970s there is a curiously large gap in his recorded output evidently due to personal problems. In fact, Al Haig Today! appears to be his only release as a leader during the '60s. The pianist is joined by Ed DeHaas on bass (who worked with Martial Solal, Kai Winding, Chet Baker, and Chris Conner among others) and the relatively unknown Jim Kappes on drums. (Kappes would later work with the Paul Winter Consort). This well-recorded date showcases a versatile selection of tunes including Haig's minor blues entitled "Thrio," Toots Thielemans' "Bluesette," and Oscar Brown's "Brother Where Are You." From his book of standards Haig pulls "Willow Weep For Me," "Polka Dots and Moonbeams," "You Don't Know What Love Is," and "Satin Doll." The pianist's rendering of "Bag's Groove" is harmonized in dark, folky tones. "The Good Life," an evocative melody by French guitarist/vocalist Sacha Distel, is given a Latin treatment. One can hear many influences in Haig's piano work from the early inspiration of Nat King Cole, Billy Kyle, and Teddy Wilson to the bebop syncopation of his contemporary Bud Powell. Haig's lyrical playing on Today! also invokes the more modern work of Hank Jones and Bill Evans. Although his keyboard technique is typically lighter, neater, and less fiery than Powell's, Haig's subtle harmonies often have an appealing edge. His playing though cool and calm is still rhythmically interesting and highly creative; the overall sound is authentic bebop! On Al Haig Today! this underrated musician demonstrates his complete mastery of jazz piano impeccable swing, rich chording, and inventive improvisation. ~ Lee Bloom https://www.allmusic.com/album/al-haig-today%21-mw0000364531

Personnel: Piano – Al Haig; Bass – Eddie DeHaas; Drums – Jimmy Kappes

Al Haig Today!

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Tete Montoliu - Tete Montoliu Interpreta a Serrat

Styles: Piano Jazz
Year: 2013
File: MP3@320K/s
Time: 54:20
Size: 126,0 MB
Art: Front

(2:12)  1. Con ho fa el Vent
(8:31)  2. Medley Marta: Marta, Una Guitarra, Cançó de Matinada, Me'n Vaig a Peu
(3:14)  3. Paraules d'amor
(4:36)  4. Els Vells Amants
(5:00)  5. Saps
(4:40)  6. Sota un Cirerer Florit
(3:51)  7. Quasi una Dona
(2:45)  8. Camí Avall
(2:56)  9. Manuel
(5:35) 10. El Meu Carrer
(2:28) 11. De Mica en Mica
(5:26) 12. No Hago Otra Cosa que Pensar en Tí
(3:00) 13. Conillet de Vellut

An outstanding veteran pianist from Spain, Tete Montoliu was born blind. He learned to read music in Braille when he was seven and developed impressive technique on piano. He recorded with Lionel Hampton in 1956, had his first session as a leader in 1958, and played with the touring Roland Kirk in 1963. Through the years, he also worked with such visiting Americans as Kenny Dorham, Dexter Gordon, Ben Webster, Lucky Thompson, and even Anthony Braxton. Tete Montoliu's visits to the U.S. were very infrequent, but his SteepleChase albums (starting in 1971) are generally available; he also cut one date for Contemporary (1979) and recorded for Enja and Soul Note. ~ Scott Yanow https://www.allmusic.com/artist/tete-montoliu-mn0000024907/biography

Tete Montoliu Interpreta a Serrat

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Kitty Kallen - But Beautiful

Styles: Vocal
Year: 2017
File: MP3@320K/s
Time: 57:22
Size: 132,5 MB
Art: Front

(2:57)  1. But Beautiful
(2:44)  2. I'll Walk Along
(2:26)  3. Star Eyes
(3:26)  4. It's Been a Long, Long Time
(3:01)  5. Little Things Mean A Lot
(3:22)  6. My Colouring Book
(3:00)  7. It Could Happen To You
(3:06)  8. They're Either Too Young Or Too Old
(3:16)  9. I'm Beginning To See The Light
(3:24) 10. I'll Buy That Dream
(2:41) 11. I'd Never Forgive Myself
(3:04) 12. When They Ask About You
(3:02) 13. Besame Mucho (Kiss Me Much)
(2:55) 14. In The Chapel In The Moonlight
(3:35) 15. How Are Things In Glocca Morra?
(2:41) 16. Just Between Friends
(2:39) 17. Because You're Mine
(3:08) 18. I'm Old Fashioned
(2:46) 19. If I Give My Heart To You

Kitty Kallen was a band singer, and later a soloist, who lit up bandstands with a handful of top leaders during the '40s. She's remembered for three reasons: big-band fans know that she was the one who replaced Helen O'Connell in the Jimmy Dorsey Orchestra in 1943, also that she sang the vocal chorus on a pair of Harry James hits, "I'm Beginning to See the Light" and "It's Been a Long, Long Time," and virtually everyone with a radio in 1954 knew that she recorded the year's most popular song, "Little Things Mean a Lot." Her career lasted more than 20 years, but it was sporadic at best, with the major successes listed above virtually the only popularity she achieved. Born in Philadelphia in 1922, she was a gifted mimic who won talent shows and also appeared on children's radio shows by the mid-'30s. Kallen was still a teenager when she began singing with bands (including Jan Savitt and Artie Shaw), and she earned her first full-time role in 1940 with Jack Teagarden's Orchestra. Two years later, she joined Tommy Dorsey, and appeared on several hits, including "Besame Mucho" and "Star Eyes" (plus a 1943 film, I Dood It). One year later, she had jumped ship again, this time to the Harry James band, where she struck gold again with a pair of dreamy Hit Parade toppers, "I'm Beginning to See the Light" and "It's Been a Long, Long Time." Two additional hits followed "I Guess I'll Hang My Tears Out to Dry" and "I'll Buy That Dream" both of which were in the same mold as her previous features. After the end of World War II, during the late '40s, Kallen sang on several radio programs, appeared as a solo act in clubs nationwide, and recorded for labels including Musicraft and Signature. Nothing clicked in a big way until 1953, when a contract with Decca paid dividends with a pair of million-sellers, "Little Things Mean a Lot" (her signature song) and "In the Chapel in the Moonlight." Kallen proved popular on television, although by the mid-'50s, she began to be swept aside by rock-oriented pop music. She made brief comebacks in 1959 with Columbia and 1962 with RCA, but 1963 was the last year for her on the pop charts, with "My Coloring Book."~ John Bush https://www.allmusic.com/artist/kitty-kallen-mn0000099198/biography 

But Beautiful

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Michael Civisca - Blue Skies

Styles: Vocal
Year: 2004
File: MP3@320K/s
Time: 54:56
Size: 126,7 MB
Art: Front

(2:53)  1. East Of The Sun
(3:56)  2. Nobody Else But Me
(3:27)  3. Honeysuckle Rose
(2:38)  4. How Deep Is The Ocean
(3:58)  5. Moonlight In Vermont
(2:29)  6. Gee Baby, Ain't I Good To You
(3:53)  7. I Didn't Know What Time It Was
(3:54)  8. Love Walked In
(2:01)  9. Blue Skies
(3:39) 10. It's A Beautiful Evening
(3:00) 11. I'm Gonna Sit Right Down And Write Myself A Letter
(3:53) 12. Ain't Misbehavin'
(2:54) 13. Here I'll Stay
(2:54) 14. My Funny Valentine
(2:16) 15. It Could Happen To You
(3:14) 16. All Of Me
(3:48) 17. As Time Goes By

Michael Civisca is a performer who sings the music of the Great American Songbook. His voice carries the warmth and style of a modern-day crooner. Michael is dedicated to the production of recordings and performances that spotlight the music of the great composers including Cole Porter, Harold Arlen, George and Ira Gershwin, and Irving Berlin. Civisca possesses a full-ranged baritone voice which he uses with finesse and discretion to fit the mood, tone and tempo of the song he's singing, Civisca is easily at home working with small trio groups, brassy big bands, or lush orchestras. Michael debuted March 17, 1997 with his first CD, 

A Collection of Great American Standards. The CD was picked up on national radio by May of that year. MJJ Music and Sony stepped up to the task of redistributing Michael's music to a national market. https://store.cdbaby.com/cd/civisca

Blue Skies

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Victor Provost - Bright Eyes

Styles: Contemporary Jazz
Year: 2017
File: MP3@320K/s
Time: 58:38
Size: 134,9 MB
Art: Front

(4:58)  1. Eastern Standard Time
(7:13)  2. Ella Nunca Tiene Una Ventana
(4:22)  3. Fitt Street
(6:48)  4. Bright Eyes
(6:21)  5. Pan in Harmony
(6:05)  6. Homenaje
(6:08)  7. Fete Antillaise
(5:56)  8. Twenty
(1:01)  9. Intro for Chelle
(5:03) 10. Song for Chelle
(4:38) 11. La Casa de Fiesta

Just as Béla Fleck has done for the banjo and Laurie Anderson has done for the violin, steel pan player Victor Provost showcases his main instrument in contexts that are different from the one in which many listeners were first introduced to it. Although there are definitely Caribbean influences on Bright Eyes, Provost (who grew up on St. John in the Virgin Islands) is also deeply devoted to jazz. The result is a great jazz album that happens to feature steel pan as opposed to a great steel pan album that incorporates jazz. Provost and his band Alex Brown (piano), Zach Brown (bass) and Billy Williams Jr. (drums) get help from percussionist Paulo Stagnaro on six of the 11 cuts. Other guest contributors include Paquito D’Rivera (alto saxophone), Ron Blake (soprano saxophone), Tedd Baker (tenor saxophone), Joe Locke (vibraphone), Etienne Charles (trumpet) and John Lee (guitar). On the title track, Provost offers the same elegant mixture of hypnotic speed and seductive melodicism on steel pan that Locke has developed on vibraphone; the combination of the two instruments here is dazzling. The original tune “Twenty” illustrates the leader’s mastery of a slow tempo, while a fiery rendition of Tom Glovier’s “La Casa De Fiesta” becomes a high-octane blowing session for Provost, Alex Brown, Blake and Charles. We can’t wait to hear what Provost does next. ~ Bobby Reed http://downbeat.com/reviews/detail/bright-eyes

Personnel:  Victor Provost - steel pan; Alex Brown - piano; Zach Brown - bass;  Billy Williams, Jr. - drums; Paquito D'Rivera - alto saxophone; Joe Locke - vibraphone; Ron Blake - soprano saxophone; Etienne Charles - trumpet; Paulo Stagnaro - percussion; Tedd Baker - tenor saxophone; John Lee - guitar

Bright Eyes

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Arne Domnérus - Memories of You Disc 1, Disc 2

Album: Memories of You Disc 1

Styles: Saxophone And Clarinet Jazz
Year: 2011
File: MP3@320K/s
Time: 56:23
Size: 129,7 MB
Art: Front

(3:52)  1. Poor Butterfly
(4:10)  2. Memories of You
(9:07)  3. Take the A-Train
(5:39)  4. Blowing in the Wind
(9:24)  5. Lady, be Good!
(8:07)  6. Confessin' (That I Love You)
(3:22)  7. It Don't Mean a Thing
(3:04)  8. I've Got It Bad
(7:03)  9. Jeep's Blues
(2:30) 10. Sometimes I Feel Like a Motherless Child

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Album: Memories of You Disc 2

Time: 49:24

Size: 113,9 MB

(6:57)  1. Things Ain't What They Used to Be

(3:23)  2. Hymn to Freedom

(2:34)  3. The Midnight Sun Will Never Set

(3:48)  4. Autum Leaves

(7:04)  5. Take 5

(4:50)  6. Jazz Me Blues

(4:04)  7. Lush Life

(4:05)  8. Is God a Three Letter Word for Love?

(3:12)  9. The Fable of a Fool

(3:00) 10. Hallelujah

(3:07) 11. That Old Black Magic

(3:15) 12. Out of Nowhere

With the death of Arne Domnerus, at the age of 83, on September 2, 2008, a great and all-pervading light went out on the Swedish jazz scene. "Dompan," as he was universally known in his homeland, started out playing Benny Goodman-influenced clarinet in a Stockholm college band in his teens, graduated to alto saxophone in diverse, long forgotten Swedish dance orchestras, then played in the Swedish jazz band that took the 1949 Paris jazz festival by storm. Later that year he cut his first records as leader for Metronome and the following year led the band that opened on Charlie Parker's tour of Sweden. He made an epic series of records with visiting Americans James Moody, Zoot Sims, George Wallington, Clifford Brown, Art Farmer and Quincy Jones. He played in Harry Arnold's Swedish Radio Big Band from 1956 to 1965, and then took over the leadership when it was reformed as a smaller outfit from 1966-1978. Though at the same time, he was always careful to keep one foot firmly in the world of more commercial music. He cut the first Swedish recording of "Rock Around The Clock," with Gunnar "Siljabloo" Nilson handling the vocals, took part in Dixieland sessions and backed a good many pop singers. In his very Swedish, unassuming way, he said he developed his own style because he couldn't hope to play like his idols, Benny Carter, Johnny Hodges and, of course, Bird. 

This double CD tribute compilation features Domnerus' later recordings. It includes tracks from the classic 1977 album, Jazz at the Pawnshop, from the 1990s albums Sketches of Standards and Live is Life, (both on Proprius Records), plus four tracks from Svenska Jazzklassiker (Naxos Nostalgia), an exercise in nostalgia, featuring rather cheesy 1950s arrangements. There is also a solitary inclusion from a 1974 album, Antiphone Blues (Proprius) of his haunting rendition of the old Negro spiritual "Sometimes I Feel Like a Motherless Child," backed by Gustaf Sjokvist on organ. The Pawnshop tracks are the standouts as straight-ahead jazz content, but Domnerus was also capable of transcending the most unpromising material. One example featured here is his total transformation of the hoary old Bob Dylan folk revival anthem "Blowing in the Wind" which, with the admirable Rune Gustafsson on guitar, is transformed into something of a mini masterpiece. Unfortunately, Dompan was also capable of pretension. His overblown version of his old idol Benny Carter's "The Fable of a Fool," positively drips with sentiment, replete with saccharin string and harp accompaniment. 

~ Chris Mosey https://www.allaboutjazz.com/memories-of-you-arne-domnerus-proprius-review-by-chris-mosey.php

Personnel: Arne Domnerus: alto sax, alto clarinet; Lars Erstrand: vibes; Jan Lundgren: piano; Hans Backenroth: bass; Rasmus Kihlberg: drums; Bengt Hallberg: piano; Georg Riedel: bass; Egil Johansen: drums; Rune Gustafsson: guitar; Gustaf Sjokvist: organ; Gunnar Svensson: piano; Yngve Akerberg: bass; Jack Noren: drums; Rolf Ericson: trumpet

Memories of You Disc 1, Disc 2

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B.J.Jansen - Common Ground

Styles: Saxophone Jazz
Year: 2017
File: MP3@320K/s
Time: 64:40
Size: 150,9 MB
Art: Front

(5:25)  1. Stacey's Pace
(5:39)  2. Carol's Dream
(5:58)  3. Street Walk
(4:50)  4. Brandon's Blues
(5:06)  5. Soul Loss
(4:24)  6. Angela's Aggravation
(5:32)  7. Bucket Full of Soul
(5:05)  8. Relaxin' with Jessica
(7:22)  9. Common Ground
(4:43) 10. Angela's Aggravation (Alternate Take)
(6:09) 11. Bucket Full of Soul (Alternate Take)
(4:20) 12. Stacey's Pace (Alternate Take)

Cincinnati-born baritone saxophonist B.J. Jansen's tenth album is titled Common Ground for good reason: his sextet consists of NEA Jazz Master trombonist Delfeayo Marsalis, drummer Ralph Peterson, trumpeter Duane Eubanks, pianist Zaccai Curtis, and bassist Dezron Douglas all of whom revel in improvisation. His group's shared affinity for jazz in the straight-ahead vein compelled Jansen to employ a "hands-off" tactic as leader, prompting the end product's great diversity of playing and style. The album has its post- bop pieces, hard bop workouts, Coltrane-esque spirituals, and mellifluous ballads, constituting an album that sounds classic, yet modern in its permissive borrowing from jazz's past.  From the first muscular bars of "Stacey's Pace," the aura of Common Ground is made clear: uncluttered, timeless jazz that harkens back to the all-star sessions of the late '50s and early '60s. A nimble bass solo by Douglas ushers in spirited improvisation from the remainder of the group, assembling sounds that likely would've reverberated off the walls of the Five Spot in its heyday. Influenced by the harmonic intricacy of Charlie Parker's compositions, "Angela's Aggravation" swings with a bebop approach, featuring a blazing solo by Jansen that conveys unbridled passion without compromising clarity. Further venturing down jazz's stylistic evolution, "Street Walk" exudes a post-bop flavor with its angular melody and dynamic structure. Anchored by Peterson's intrepid, at times explosive, sense of rhythm, players are impelled to solo at their most dexterous. 

Not lacking in tranquility, ballads "Carol's Dream" and "Soul Loss" impart the sextet's softer side, with Jansen filling open space with languid phrasing throughout the latter. As the concluding piece, the improvised title track seems to hit the crux of the album resolute unity through music. Leading his band from a spiritual introduction to reckless free playing, Jansen's sinuous trajectory never falters due to this mutual perceptivity. If the Blue Note and Prestige sessions of old occupy a sizeable portion of your music collection, Common Ground is an essential new release (the album even includes three alternate takes, akin to modern jazz reissues). Backed with a band of the highest caliber, Jansen's adroitness and appreciation for jazz produces a sound that radiates with classic charm. While his influence lies in the traditional, Jansen's individuality will surely cement his position in the line of great baritone players. ~ Mattew Aquiline https://www.allaboutjazz.com/common-ground-bj-jansen-ronin-jazz-review-by-matthew-aquiline.php

Personnel: B.J. Jansen: baritone saxophone; Delfeayo Marsalis: trombone; Duane Eubanks: trumpet; Zaccai Curtis: piano; Dezron Douglas: bass; Ralph Peterson: drums.

Common Ground

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Bobby Sanabria - Quarteto Ache!

Styles: Jazz, Post Bop
Year: 2003
File: MP3@320K/s
Time: 57:21
Size: 132,0 MB
Art: Front

(4:40)  1. Shaw Nuff
(8:10)  2. Soleshia
(9:16)  3. Funky Mr. D
(0:52)  4. Blue
(5:55)  5. Childs Walk
(7:09)  6. Ebb & Flow
(6:30)  7. El Trane
(9:12)  8. Aum
(5:32)  9. Be-Bop

One of the most obvious things about watching Dizzy Gillespie, in particular when pursuing his Afro-Cuban muse, was how much fun he was having. All too often musicians become so entrenched in the seriousness of their work that they forget music is also meant to be passionate and pleasurable, as much fun to hear as it is to play. Drummer Bobby Sanabria hasn’t forgotten this important aspect of the art, and with his current group, ¡Quarteto Ache!, he follows in Gillespie’s footsteps in more ways than one. The group’s self-titled recording is an example of how an infectious sense of playfulness can imbue the music with a vibrancy, a sense of excitement that not only captivates, but draws the listener in, making him/her an active participant. Bookending the recording with two Gillespie pieces, “Shaw ‘Nuff” and “Be-Bop,” Sanabria makes it clear that he is one of the primary torch-carriers for the Afro-Cuban approach. But what Sanabria is especially astute at is integrating rhythms and styles from various aspects of Latin America into a cohesive whole. “Funky Mr. D,” for example, combines elements of Cuban bolero, Brazilian samba cans?o and more a more traditional blues form into something that speaks its own language. “Soleshia” couples a 3/4 jazz waltz with a 6/8 Afro-Cuban bemb? feel. “Aum” demonstrates that there is a clear link between the Middle East and Latin forms. “El Trane,” a more straight-ahead bebop tune, pays homage to both Elvin Jones and, of course, John Coltrane in a modal workout that, by virtue of its polyrhythmic density, ties in perfectly with the rest of the programme. The group is not comprised of clearly distinct stylistic voices, yet everyone plays with confidence, energy and commitment. 

Sanabria aside, whose drumming style is exuberant and empathic, the other standout is Jay Collins, who, along with contributions on tenor and soprano sax and a variety of flutes, does a “Rahsaan Roland Kirk” on the intro to “El Trane,” blowing both saxophones at once. But most of all it is clear that Sanabria and the group are just plain having fun. Quotes pop up liberally, drawing inspiration from sources as disparate as The Wizard of Oz and, not surprisingly, A Love Supreme. As intense as the group gets, and at times it can be very intense, there is a clear sense that these players are enjoying themselves; one can almost see the smile on Sanabria’s face as bassist Collins quotes from “If I Only Had a Brain.” There is a certain party atmosphere to the record, which is not to say that this isn’t serious music. Sanabria and ¡Quarteto Ache! are unquestionably players who are devoted to their craft. But although the music is as weighty as any, there is a sense of enjoyment that is easily felt and most welcome. 

~ John Kelman https://www.allaboutjazz.com/bobby-sanabria-and-quarteto-ache-bobby-sanabria-zoho-music-review-by-john-kelman.php

Personnel: Bobby Sanabria (musical director, drums, vox humana), John di Martino (piano, vox humana), Jay Collins (tenor and soprano saxophones, flute, bansuri, pre-Columbian flute), Boris Kozlov (acoustic bass).

Quarteto Ache!

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Polly Gibbons - All I Can Do

Styles: Vocal
Year: 2019
File: MP3@320K/s
Time: 68:06
Size: 157,3 MB
Art: Front

(5:08)  1. Permit Me to Introduce You to Yourself
(6:28)  2. Good Hands Tonight
(4:21)  3. Beautiful Things
(5:21)  4. If You Had the Chance
(6:36)  5. Some of My Best Friends Are the Blues
(4:30)  6. Anything Goes
(5:39)  7. This Is Always
(5:03)  8. All I Can Do
(7:23)  9. Everything Must Change
(5:48) 10. I'm Just a Lucky so and So
(6:24) 11. Nothing Compares to You
(5:20) 12. Sugar in My Bowl

It is enough to listen to some songs by the English Polly Gibbons to let yourself be taken by her exuberant feeling. Nothing to do with the many vocalists who have invaded the scene with a mediocre and plasticized synthesis of pop, jazz and soul. The young woman discovered by producer Ian Shaw is something special. His tone is deep, the vocal technique is sparkling and supported by musical impetus and imagination: qualities that bring him closer to the great jazz vocalists. But the artistic identity of Polly does not belong only to this musical tradition and ranges in balance between past and present. Can make credible soul themes like "Dr. Feelgood" by Aretha Franklin , folk ballad like "All I Want" by Joni Mitchelland ranges from Leonard Cohen , Prince , Marvin Gaye and D'Angelo . Other privileged areas are the blues and the classics of American song. Born into a Suffolk (England) family of farmers, she took her first steps in the colorful London music and her recording debut ( My Own Company , Diving Duck Recordings 2014) recorded it at Ronnie Scott's, with the trio of James Pearson. Soon afterwards, the contract came with George Klabin's Resonance, which is now releasing his third album.In this recording at the New York City Power Studio in front of a small audience, Polly Gibbons ranges between genres with the usual flexibility, in an effective calibration of swinging, intimate or blues-soaked atmospheres. 

The opening song "Permit Me to Introduce You to Yourself" is an incisive soul by Horace Silverand has nothing to envy to the vocal version of Dee Dee Bridgewater ; they follow the warm blues atmosphere "Good Hands Tonight" taken from the repertoire of Al Jarreau and the pop cover "Beautiful Things" of Leslie Bricusse . Having established the first reference coordinates, the singer passionately interprets "If You Had the Chance," a ballad written by her together with James Pearson. Alongside the imaginative exuberance fully evident in "I'm Just Lucky and So-So-So" - it is precisely in the intimate themes that Polly expresses the most intense moments: the ballad "This Is Always" which reminds us of Chet Baker , the poignant torch song "Nothing Compares 2 U" by Prince and the torrid blues "I Want a Little Sugar in My Bowl," a tribute to Bessie Smith and Nina Simone.~ Angelo Leonardi https://www.allaboutjazz.com/all-i-can-do-polly-gibbons-resonance-records-review-by-angelo-leonardi.php

Personnel: Polly Gibbons: vocals; Tamir Hendelman, James Pearson: piano; Shedrick Mitchell: hammond organ; Paul Bollenback: guitar; Richie Goods: bass; Mark McLean: drums.

All I Can Do

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Phil Woods, Michela Lombardi - Sing & Play Phil Woods Songbook, Vol. 1

Styles: Vocal And Saxophone Jazz  
Year: 2010
File: MP3@320K/s
Time: 53:32
Size: 123,6 MB
Art: Front

(3:53)  1. Aimee
(6:43)  2. The Last Page
(4:02)  3. A Man Of Heart And Mind
(3:08)  4. Rain Go Away
(5:36)  5. Without You
(4:42)  6. There Was Once A Man
(5:25)  7. My Man Benny
(6:22)  8. Nicole
(6:39)  9. Sweet Petite Chanson
(6:57) 10. Samba Dubois

Phil Woods, a heavyweight of Alto Sachs, who is also called by Charlie Parker, who is a beautiful European jazz vocalist, who sings Phil Woods' masterpiece . Even today, whether to become 80 years old, there is no decline in the activity. Bap Tune is one of the best woods, but he is also known as a great composer. This album has been reborn as a vocal number by carefully selected 10 songs from Woods' original songs by Michela Lombardi & Phil Woods, the leading jazz singer in Italy. Fortunately, the composer Woods also participates and listens to the play full of singing. It will be a hit since Michela ’s popular work “So April Hearted” (LTCD0164), and for Woods, this album will be a recent masterpiece. (From jazzyell) Translate By Google https://diskunion.net/jazz/ct/detail/W448

Personnel: Michela Lombardi (vo), Phil Woods (sax), Piero Frassi (p, key), Filippo Pedol (b), Andrea Melani (ds)

Sing & Play Phil Woods Songbook, Vol. 1

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Bud Powell Trio - Swingin' With Bud

Styles: Piano Jazz 
Year: 1957
File: MP3@320K/s
Time: 39:03
Size: 90,2 MB
Art: Front

(3:27)  1. Another Dozen
(4:57)  2. Like Someone In Love
(2:22)  3. Salt Peanuts
(5:09)  4. She
(3:16)  5. Swedish Pastry
(3:16)  6. Shaw 'Nuff
(2:33)  7. Oblivion
(3:25)  8. In the Blue of the Evening
(3:05)  9. Get It
(4:20) 10. Birdland Blues
(3:09) 11. Midway

The immortal pianist Bud Powell's two RCA sets from 1956-1957 have been unjustly neglected through the years. Superior to his Verve releases from the time (although not on the same level as his Blue Note dates), Powell is in generally good form on this trio session with bassist George Duvivier and drummer Art Taylor. Highlights include "Like Someone in Love," "Salt Peanuts," "Shaw 'Nuff" and "Oblivion" (the latter is one of four Powell originals on the program). The set is not essential but is easily recommended to bop collectors. ~ Scott Yanow https://www.allmusic.com/album/swingin-with-bud-mw0000644656

Personnel: Bud Powell – piano; George Duvivier – bass; Art Taylor – drums

Swingin' With Bud

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Christine Corvisier - Walking Around

Styles: Saxophone Jazz
Year: 2009
File: MP3@320K/s
Time: 70:53
Size: 163,5 MB
Art: Front

( 7:22)  1. Balkan Song
( 4:58)  2. Knuck
( 7:03)  3. La Vie En Rose
( 7:25)  4. Energetic Laziness
( 8:47)  5. Black Sympathy
( 6:06)  6. Common Passion
( 4:17)  7. Spin
(12:40)  8. Le Chocolat - Live
(12:11)  9. Black Sympathy - Live

She started the saxophone at the age of 14 and quickly integrated some bands like the JMSU Big Band (directed by JF. Jacomino) with whom she went on different tours through the years ( Germany, Italy, Paris: in the “Zenith” and the studio of” Radio France», Jazz Festival in Martinique….). She integrated in the same time the Music University and Conservatory of Nice with JM.Baccarini(“ Bacca sax”) where she graduated and obtain her DEM diploma with the mention” Very Good”. She was chosen to play in a band for representing the Conservatory during 2 tours (Nürnberg: Germany and Stockholm: Sweden). She started composing for different projects and different settings: duo, quartet but also larger ensemble like”Kombawa Tentet“ with whom she performed in the prestigious“Jazz in Marciac”. In 2004, she decided to study at the High International Conservatory of Amsterdam with F.Povel and J.Blom where she graduated in 2008 and obtain her “ Bachelor Degree of jazz Music”; she also had private lessons with D.Oatts, R.Margitza, L.Schneider, and master classes with people like: John Taylor, Richard Bona, Terry line Carrington, Kurt Rosenwinkel, Garry Smulyan, Eric Alexander, Chris Potter…In 2006, while playing with lots of different bands, she decided to create her own jazz 5tet : CC5 alias „Christine Corvisier 5tet“ where she fully composed the repertoire. 

They recorded a 1st demo “Melting pot” and after many tours with recorded a 1st album “Walking Around” released in May 2008 on the label EBF. 2008 is also the year where she won the price “Young Talent of Alpes Maritimes” that gave her the opportunity to live in New-York City for 2 months. There she studied with the saxophone masters ( Joshua Redman, Chris Cheek, David Binney and Donny McCaslin and George Garzone) wich considerably accelerated her musical developpement. 

After she moved to Germany in 2010 she founded a new quintet with some of the best musicians of the Cologne jazz scene. She was quickly recognized beyond the borders of the region as a virtuosic but at the same time melodic improviser and composer. Her new album “Reconnaissance” will be released in October 2015 under the swiss label Unit Records. https://www.christinecorvisier.com/?page_id=2

Personnel:  Tenor Saxophone – Christine Corvisier; Bass – Petros Klampanis; Drums – Rui Ramos Perreira; Guitar – Eskil Maun Saether; Piano – Sri Hanuraga

Walking Around

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Jimmy McGriff - Electric Funk

Styles: Soul Jazz
Year: 1970
File: MP3@320K/s
Time: 32:22
Size: 75,1 MB
Art: Front

(3:18)  1. Back On The Track
(3:46)  2. Chris Cross
(3:19)  3. Miss Poopie
(4:02)  4. The Bird Wave
(3:29)  5. Spear For Moondog, Part 1
(3:05)  6. Spear For Moondog, Part 2
(3:59)  7. Tight Times
(3:35)  8. Spinning Wheel
(3:45)  9. Funky Junk

This 1969 Sonny Lester production was one nearly hopelessly lost slab of solid funk. It often popped up in cut-out bins when records were still waxed. When used-record stores started disappearing, beauties like this started vanishing too. But Blue Note's blessed Rare Groove series has exhumed all 32 minutes of this hard-hitting fon-kee gem (and, to its credit, retained the original but dated cover art too). Acid jazzers are probably already familiar with "The Bird Wave," which appeared on the Blue Note Rare Grooves compilation issued in 1996. The great news is that the rest of Electric Funk goes like this too. No sap, no frills. Just good true groove. In 1997, nay-sayers accuse this street soul (which prevailed in the early 70s) of being nothing more than TV cop-show music and Blaxploitation soundtrack stuff. Lovers will say that's the point. But in 1969, this was the next step for soul jazz; a genre Jimmy McGriff has always ruled. From his early Sue classics (all of which were recently released on CD by the Collectibles label) to his Solid State records in the 60s and on to his Sonny Lester productions on Groove Merchant and LRC in the 70s, this man has always known how to rock a groove. Unfortunately, credits are limited here to the organ grinder and his arranger (Horace Ott - a staple of the orchestrated groove in the 70s). 

Some sources indicate Stanley Turrentine and Blue Mitchell sit in the orchestra pit (very brief tenor and trumpet features indicate it's certainly possible). It'd be nice, however, to know the identities of the fuzz guitarist heard here and the funky drummer (who has the rhythmic familiarity of Bernard Purdie). Ott's arrangements are riff-oriented and stay out of McGriff's way. They often launch McGriff into one clever line after another and, fortunately, never tempt him to out-modulate the horn section as was so often the case on McGriff's earlier big-band tribute to Count Basie. Here's hoping Blue Note has room left in the budget to bring back the long-lost grooves of McGriff's The Worm (1968) and Black Pearl (1971) too. ~ Douglas Payne https://www.allaboutjazz.com/electric-funk-jimmy-mcgriff-blue-note-records-review-by-douglas-payne.php

Personnel:  Jimmy McGriff – electronic organ; Blue Mitchell – trumpet; Stanley Turrentine – tenor saxophone; Horace Ott – electric piano, arranger; Chuck Rainey – electric bass; Bernard Purdie – drums

Electric Funk

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